Watching the Moon for Five Nights" by Wang Jian of the Tang Dynasty. Crows roost on the white trees in the courtyard, and the cold dew wets the sweet-scented osmanthus silently. Tonight, when the moon is bright and everyone looks out, I wonder who is missing in autumn? Selected from Volume 8 of "The Collection of Wang Sima". Wang Jian (approximately 767-830), a poet in the Tang Dynasty, served as Sima of Shaanxi Province and wrote "Collection of Wang Sima". The "Fifteenth Night" in the title, combined with the third and fourth sentences, should refer to the night of the Mid-Autumn Festival. The title of the poem is "Watching the Moon on the Fifteenth Night and Send it to Du Langzhong" from "Complete Poems of the Tang Dynasty". Du Langzhong, whose name is unknown, is his friend. Among the poems about the Mid-Autumn Festival in the Tang Dynasty, this is one of the more famous ones.
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"The cold dew silently wets the sweet-scented osmanthus"
The Seven Wonders of Looking at the Moon and Thinking Far Away on Mid-Autumn Night
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< p>NotesTranslation Vernacular Translation
"The crows roost on the white trees in the courtyard"
"The cold dew silently wets the sweet-scented osmanthus"
Mid-Autumn Festival The Seven Wonders of Looking at the Moon at Night and Thinking Far Away
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Crows roost in the white trees in the atrium, cold The dew wets the sweet-scented osmanthus silently. Tonight, when the moon is bright and everyone looks out, I wonder who is missing in autumn?
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Crows roost in the white trees in the atrium, and the cold dew wets the sweet-scented osmanthus silently. Tonight, when the moon is bright and everyone looks out, I wonder who is missing in autumn? Notes: 1. Atrium: In the courtyard, in the courtyard. 2. Dibai: refers to the moonlight covering the ground. 3. Perch: The bird sits on a tree. 4. Autumn thoughts: The feelings of autumn, here refers to the thoughts of missing people.
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Poetic Translation Looking at the Moon on the Fifteenth Night, Wang Jian, Tang Dynasty In the courtyard, the moon reflected the ground, and the white trees roosted with dusky crows. The cold dew quietly wetted the sweet-scented osmanthus. Tonight the bright moon is reunited and everyone is looking at it. I wonder whose house those long autumn thoughts fall on.
Vernacular translation
The moonlight shone in the courtyard, and the ground seemed to be covered with a layer of frost and snow; in the shade of the lonely trees, the birds fell asleep one after another. Because of the late night, the autumn dew wetted the sweet-scented osmanthus in the garden. Tonight people are looking up at the bright and clear moon, but they don’t know whose homes the autumn thoughts fall on?
"White Tree-roosting Crow in the Courtyard"
The moonlight shines in the courtyard, and the ground seems to be covered with a layer of frost and snow. In the shade of the deserted trees, the chattering noise of crows and magpies gradually subsided. They finally adapted to the dazzling disturbance of the bright moon and went to sleep one after another. When the poet writes about the moonlight in the atrium, he only uses the word "ground white", but it gives people a sense of empty water, clearness, and coldness, which reminds people of Li Bai's famous sentence "The moonlight is bright in front of the bed, and it is suspected that it is on the ground." "Frost", immersed in the beautiful artistic conception. "Arboreal crow" can be heard mainly by looking at the moon on the fifteenth night, rather than seen. Because even on a bright moon night, people are unlikely to see the crows and magpies roosting; and the crows and magpies start to make a panic and noise in the shadow of the moonlight trees (Zhou Bangyan's "Die Lian Hua" has a line "The bright moon scares the crows and magpies" "Uncertain", that is, writing this kind of artistic conception) to the final peaceful sleep, it is completely possible to feel it through hearing. The three words "arboreal crow" are simple, concise and concise. They not only describe the situation of crows and magpies perching in trees, but also highlight the silence of the moonlit night.
"The cold dew wets the sweet-scented osmanthus silently"
This poem reminds me of the scene where the air-conditioning is blowing and the sweet-scented osmanthus is pleasant. Because of the late night, the autumn dew wets the sweet-scented osmanthus in the garden. If you think about it further, you will think that this osmanthus may refer to the osmanthus tree in the middle of the moon. This is a secret writing of the poet looking at the moon, which is the key point of the whole article. In the dead of night, the poet looked up at the bright moon and meditated. A slight chill came over him, and he began to think about it. In the Guanghan Palace, the cold dew must have wetted the sweet-scented osmanthus tree, right? In this way, the artistic conception of "the cold dew wets the sweet-scented osmanthus silently" seems more distant and thought-provoking. You see, he chose the word "silent" so carefully to express the lightness and tracelessness of cold dew, and to exaggerate the long-lasting infiltration of osmanthus. And it’s not just sweet-scented osmanthus, what about the white rabbit under the tree, what about Wu Gang wielding an axe, and what about Chang’e who has “blue sea and blue sky every night”? What rich associations of beauty the poems bring us. "Tonight, everyone is looking at the bright moon, and I don't know whose house those long autumn thoughts are falling on." With the bright moon in the sky, is it possible that the poet is the only one staring at it alone? Who in the world is not admiring the moon in low circles and looking forward to it? So, things fell into place, and I chanted "Tonight, when the moon is bright, everyone can see, I don't know who is missing in autumn." The first two sentences describe the scenery without the word "moon"; the third sentence clearly points to looking at the moon, and extends it to others, expanding the scope of those who look at the moon. However, when we both look at the moon, we feel the meaning of autumn and the feeling of nostalgia for others, but it is different for each person. The poet felt sad that his family was separated, so the desolation of the moon palace aroused deep lovesickness. His "Autumn Thoughts" must be the deepest. However, when expressing it, the poet did not use a positive lyrical way to directly express his longing; instead, he used a euphemistic questioning tone: I wonder whose side the vast autumn thoughts will fall on ("Who "Home" means "who", "home" is a final particle with no real meaning). It is obvious that he is cherishing someone, but he still says "Whose house do I miss in autumn?" This expresses the poet's deep feelings for Yue Huaiyuan.
It seems that autumn thoughts are unique to poets. Although others are also looking at the moon, they have no autumn thoughts to speak of. This is really unreasonable, but the more it shows the poet's infatuation, the technique is indeed superb. The last two sentences do not directly express my deep-seated lovesickness, but use euphemistic questions to express it, so that there is an implicit meaning, that is, "Among the many people looking at the moon, I am probably the only one who misses the deepest autumn!" In the word Lian, 1 .The word "Luo" is novel, appropriate, and extraordinary. It gives people a moving image, as if the autumn thoughts are falling into the world with the clear light of the silver moon. The artistic conception of this poem is very beautiful. The poet uses figurative language and rich imagination to exaggerate the specific environmental atmosphere of looking at the moon in the Mid-Autumn Festival, bringing the readers into the artistic conception of a bright moon and people far away, and deep thoughts and long-lasting thoughts, plus a soulful sigh. , the leisurely and endless ending expresses the affection of separation and reunion in a very tactful and touching way.
On the night of the Mid-Autumn Festival, the Qijue of looking at the moon and thinking about the distance
The first impression it gives people is a picturesque scene. Yin Fan's "Heyue Yingling Collection" praised Wang Wei's poems as "paintings on the wall". In Su Shi's words, "there are paintings in the poems". This comment can also be applied to all Tang poems with artistic conception. Because of this, painters in the past dynasties like to create poetic paintings of the Tang Dynasty. There are prints based on this poem in the "Tang Poetry and Painting Manual" of the Ming Dynasty. Its background is the winding bank, distant mountains, and the bright moon in the sky. The center of the picture is a tourist attraction near the water. It is surrounded by curved railings made of bamboo, Taihu stones, and there are several crows on a tall deciduous sycamore tree. Next to the tree are autumn osmanthus trees with dancing leaves. There were five people under the tree, two of them were looking at the moon and chatting in a lively manner. Next to them, officials wearing futou and waving fans and an old man wearing a square scarf, standing against a child, were listening intently to their conversation. The whole picture is far and near, master and slave. The levels are well organized, with movement and stillness, harmonious and unified, and quite expressive. However, this print is only an artistic conception creatively conceived by the artist, and it does not fully express the autumn thoughts, the finishing touch of the whole poem, which is really a flaw. At this point, the art of poetic language shows its irreplaceability.
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Wang Jian, a poet of the Tang Dynasty. His courtesy name was Zhongchu, a native of Yingchuan (now Xuchang, Henan). The family was poor, "he served in the army for thirteen years", and when he lived in the countryside, he "worried about food and clothing all day long". After the age of forty, he "became an official at the beginning of his gray hair" and fell into the lower ranks, serving as county magistrate, Sima, etc., and became known as King Sima in the world. He wrote a lot of Yuefu, sympathizing with the sufferings of the people, and is as famous as Zhang Ji. He also wrote hundreds of palace poems. In addition to traditional palace resentments, he also extensively described the scenery in the palace. It is an important material for studying the palace life of the Tang Dynasty. He wrote some unique short poems, such as "The Order of Teasing", which was originally titled "Teasing in the Palace". It can be seen that it was specially used for the king to make jokes, but Wang Jian used it to write about the sorrow of the women in the palace: "Fans, fans, beauties Come and cover your face. After three years of haggardness, who will discuss the music again? Another example is "Jiangnan Santai": "A young woman by the pond in Yangzhou, a businessman in Changqian City. There was no news for three years, and each of them worshiped ghosts and gods." It is purely a white description, but it has a different interest. Wang Jian was a Jinshi in Dali. His family status declined and he left home at an early age to live in the countryside of Weizhou. When he was about 20 years old, he met Zhang Ji, studied together, and began to write Yuefu poems. In the thirteenth year of Zhenyuan, he resigned from his family and joined the army. He traveled to Youzhou in the north and Jingzhou in the south, and wrote some poems on the themes of frontier wars and military life. After "thirteen years in the army" ("Farewell to Yang Xiaoshu"), he left the army and lived in the countryside of Xianyang, living a life of "worrying about food and clothing all day long" ("Thirteen Poems on Yuan Shang's New Residence"). Around the eighth year of Yuanhe, "White Hair Became an Official" ("First Arrival at Zhaoying and Presented Colleagues"), he was appointed as the Prime Minister of Zhaoying County. In the first year of Changqing's reign, he moved to Taifu Temple to be the Prime Minister and became Secretary Lang. While in Chang'an, he had contacts with Zhang Ji, Han Yu, Bai Juyi, Liu Yuxi, Yang Juyuan, etc. At the beginning of the Great Harmony, he moved to Taichang Temple again. About the third year of Yamato, he became Sima of Shaanzhou. Sima is known as the king in the world. In the fifth year of Yamato, he was the governor of Guangzhou (the seat of governance is now Huangchuan, Henan Province). Jia Dao once visited him and presented him with poems. His whereabouts since then are unknown.
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This poem shows a picture of a lonely, deserted and quiet Mid-Autumn night. The bright moonlight shone in the courtyard, and the ground seemed to be covered with a layer of frost. The crows and magpies on the tree have fallen asleep, and the dew of the autumn night falls coldly, moistening the sweet-scented osmanthus in the garden.
This elegant, quiet and beautiful picture can't help but tempt people to think: Tonight, everyone in the world is looking up at the bright moon, but I don't know whose family the deep sorrow of autumn falls on?